Polytone keyboard



Feb. 18, 1941. A... FICKENSCHER POLYTONE KEYBOARD Filed April 29, 1940 2 SheetS-Sheec 1 .flri/zur FicZ'na'cher Feb. 18, 1941. A. FICKENSVCHER 2,232,600

POLYTONE KEYBOARD Filed April 29, 1940 2 Sheets-Sheet 2 gimme/Wm Patented Feb. 18, 1941- UNITED STATES PATENT OFFICE 3 Claims.

This invention relates tomusical histruments embodying a keyboard such as a .piano, organor like instrument with a more complete harmonic extension than those with the conventional twelve tones to theoctave.

It is an objectiof this invention to provide a keyboard for any instrument which is capable of being tuned practically to a laboratory purity and wherein each octave maybe broken up into any desired number of tonefractions.

Another object of this invention is to provide a keyboard which is so arranged that the keys of each tone fraction are arranged in a horizontal planeand are oiiset laterally from a preceding tone.

A further object of this invention is to provide a keyboard wherein the keys are-arranged in stepped relation, tiersor banks; with-a sue-- ceeding key of the same lettered but differently marked intonations oifset fromia'precedingkey, and with one (or more) upper keys of one lettered tier being disposed in alinement with one (or more) of the lower keys of thehigher. lettered tier. The keys in alinement frontto back Ln) key (the onefarthest back) is equal to, or, ac-

cording to the system of tuning used, substam,

tially equal to the tonal value of the note represented by the front) on the next lettered tier.

A still further object of this invention is to providea stepped keyboard arrangement wherein the keys are arranged in groups in each. octave with succeeding keys of each group disposed in the same horizontal plane with the other keys but with the forwardedge of a succeeding key 40 offset rearwarclly from a preceding key'of the same group.

A further object of this invention is to provide a systematic arrangement of keys in a keyboard whichare designed for the playing of any musical instrument in practically; pure intonation when the instrument is properly connected to the keyboard.

Embodying the aims aforesaid and others which may be hereinafter referred to, the in- .vention consists of the novel construction, combination and arrangement of parts as will be more specifically described and illustrated in the accompanying drawings wherein is shown an embodiment of'the invention, butit is to be under- 552 stood'that changes, variations and modifications are at the distancefrom each other o-f four (4) and five-twelfth key lengths and'the' tonal value of the note represented by the-uppermost:

the lower key (the one farther to may be resorted to which-fall within the scope of the invention as claimed.

In the drawings:

Figure 1 is a fragmentary top plan of the keyboard of an instrument embodying my invention.

Figure 2 is a sectional view taken on the line 2--2 of Figure 1.

Figure'S- is a fragmentary top plan of one row of keys embodied in this invention.

In the tuning of a musical instrument. such 10 as the piano, as an example, if a sufi'icient number of strings or other tonal elements are provided any number of intervals in the octave may be procured. Various systems have been suggested. If practicallyv pure intonation is to be. achieved not less than fifty-three (53) tonesto" the octave should be employed. However, the polytone keyboard can be used for a division which isless than the aforementioned 53 tones to the octave, and for any desired extension over and beyond the 53 tones. At the present time the piano, organ or like instruments embody keys for the playing of 'so-called Whole and half step intervals. It is not the intention of my polytone keyboard to provide for these tempered intervals; but it'is designed for the playing of various whole-steps such as ratios 7:8; 8:9, 9:10, etc., and' also any number of so-called half-steps, diatonic, chromatic, intermediate and others; also" closer intervalswhi'ch are too close'to be classified as half-steps. lihe closeness of intervals playable would only be determined by the extension of the banks of keys.

In order, therefore, to provide a systematic keyboard arrangement, I have provided a keyboard which isrepeated or duplicated for'each octave, the drawing showing in Figure l slightly in excess of one octave; but it will be understood that the numberv ofoctaves embodying this arrangement will depend upon the size of the in- 40 strument.v It will also be understood that the number of rows'or' banks of keys will depend upon thenumber oftones which are desired, or extensions for convenience in handling the instrument.

The lines above and below the letters indicating the keys are used inv accordance with Helmholtz intonation designations.

Referring first to Figure 1, the numerals l0( 3, lll2 and I2-- E designate-the lowest main whole-step keys (ratio 829) of the different-lettered tiers-or" one group of an octave. The numeral [0- inthe present-instance designates the-key of g and'this character has for facility of reference been shown on the key I although in actual practice this character will be omitted.

The numeral designates the key of P following g and the numeral |2 designates the key of g. These keys if), H,

The numeral I1 designates the key of 3 in the octave above key Ill-Q. A full octave is considered to be from and including key Hi to and including key l1.

The main key |0--( 3 has associated therewith and 22-6 which are keys of the same lettered, but differently marked intonations as key lib-g and I2 are main keys and which are adapted to actuate tonal elements progressively higher in frequency of vibration than key It; the interval between each adjacent key note being approximately ratio 80:81. The

keys |a-g, la-c, 2o-6, 2|-E' and mi are stepped rearwardly from key III-g and are also offset laterally from each other and from key It). The keys l8, I9, 20, 2| and 22 are offset rearwardly equal distances, and are offset laterally in such a manner that the rearmost key, 22-6, will be disposed in alinement with 21?, key 23. f, key 22, represents a tonal value or frequency equal or, dependent upon the system of tuning used, substantially equal to gi t, key 23.

Q# key 23 is disposed between keys I0 and H and is rearwardly offset therefrom. Specifically it is seven-twelfths (1!) of a key-length farther back than the main key, note 2, No. ID. This is considering a key-length to be from its front edge to the front edge of the next same lettered key to the rear: for instance: 2, key ID to Q, key It.

The interval between 2 key In and key 23 represents tonally practically the diatonic halfstep, ratio 15:16. Keys 24, 25, 26 and 21 represent tonal values pitched up from g# key 23 with the same relative values between each of the adjacent notes as those between the notes of the IS, 20, 2| and 22 and these keys are also offset rearwardly progressively and are also progressively offset laterally. C# key 21 represents a tonal value or frequency equal to, or, dependent upon the system of tuning used, very close to the frequency of 12 key l.

2 key N is disposed between keys 23 and 33 and is forwardly offset therefrom. Specifically it is two-twelfths (1'1) of a key length farther back than the main key, note 2, No. ID. This is considering a key-length to be from its front edge to the front edge of the next same lettered key to the rear: that is, for exampleg, key

to key N. The interval between Q key 23 and 2 key N, represents tonally a half-step about midway between that of the chromatic half-step and the diatonic half-step, the ratio being for a polytone instrument approximately 243:256. Keys 28, 29, 30, 3| and 32, represent tonal values pitched up from 12, key II with the same relative values between each of the adjacent notes as those between the notes of the keys numbered I0, l8, I9, 20, 2| and 22 and these keys are offset rearwardly progressively and are also progressively offset laterally. D, key 32, represents a tonal valueor frequency equal to or, dependent upon the system of tuning used, very close to the frequency of 91:, key 33.

git, key 33, is disposed between keys II and I2 and is rearwardly offset therefrom. Specifically it is nine-twelfths of a key-length farther back than the main key, note 9, No. It). This is considering a key-length to be from its front edge to the front edge of the next same lettered key to the rear: for instance: Q, key ID, to 9,

key l8. The interval between 12, key II and Q# key 33 represents tonally practically the diatonic half-step, ratio :16. Keys 34, 35, 36 and 3! represent tonal values pitched up from Q#, key

33, with the same relative values between each of the adjacent notes as those between the notes of the keys ID, l8, I9, 20, 2| and 22 and these keys are also offset rearwardly progressively and are also progressively offset laterally. D#, key 31, represents a tonal value or frequency equal to, or, dependent upon the system of tuning used, very close to the frequency of likey i2.

22, key I2, is disposed between keys 33 and I3.

It is forwardly offset from key 33 and rearwardly offset from key l3. Specifically it is four-twelfths (1%) of a key-length farther back than the main 4' key, note 3, No. Hi. This is considering a keylength to be from its front edge to the front edge of the next same lettered key to the rear: e. g.; 2, key In to Q, key l8. The interval between I key 33, and 2, key l2, represents tonally a half-step about midway between that of the chromatic half-step and the diatonic half-step, the ratio being approximately 243:256. Keys 38, 39, 4|] and 4| represent tonal values pitched up from 2, key l2, with the same relative values between each of the adjacent notes as those between the notes of the keys numbered l3, l8, I9, 20, 2| and 22, and these keys are also offset rearwardly progressively and are also progressively offset laterally. E, key 4|, represents a tonal value or frequency equal to, or, dependent upon the system of tuning used, very close to the frequency of F key l3.

E key I3 is disposed between keys [2 and 41 and is forwardly offset therefrom. Specifically it is one-twelfth s) of a key length farther front than the main key, note Q, No. II]. This is considering a key-length to be from its front edge to the front edge of the next same lettered key to the rear: that is, for example, 9, key i0 to Q, key I8. The interval between}! key'lland E key l3 represents tonally a half-stepv about midway between that of the chromatic half-step and the diatonic half-step, the ratio .beingfor a polytone instrument approximately 2432256. Keys 42, 43, 44, 45 and 46 represent total values pitched up from E key I3 with the same relative values between each of the adjacent notes as those between the notes of the keys numbered I6, I8, I9, 26,.2I and 22 and these keys are offset rearwardly progressively and are also. progressively offset laterally. key 46 represents a total value or frequency equal to, or, dependent close to the upon the system of tuning used, very frequency of fit key 4?.

1 key 4135' disposed between keys I3 and I4 and is rearwardly offset therefrom. Specifically it is six-twelfths (1- 1 of a key-length farther back than the main key, note g, No. I6. This is considering a key-length to be from its front edge to the front edge of the next same lettered key to the rear: for instance, 9, key I6 to Q, key It.

The interval between E keyIS and Fjtkey 41 represents tonally practically the diatonic halfstep, ratio 15:16. Keys 46, 49, 50 and 5| represent tonal values pitched up. from Es key 41 with the same relative values between each of the adjacent notes as those between the notes of the keys I0, i6, I9, 26, 2| and 22 and these keys are also offset rearwardly progressively and are also progressively offset laterally. F# key 5| represents a. tonal value or frequency equal to, or, dependent upon the system of tuning used, very close to the frequency of Q key I4. 1

Q key M is disposed between keys. 4? and 51 and is forwardly offset therefrom. Specifically it is one-twelfth of a key length farther back than the main key, note 2, No. I6; This is considering a key-length to be from its front edge to the front edge of the next same lettered key to the rear: that is, for example, 9, key ID to Q,

key it. The interval between Et key 41 and Q values between each of the adjacent notes as those between the notes of the keys numbered I0, I8, I53, 26, 2| and 22 and these keys are offset rearwardly progressively and are also progressively offset laterally. G key 56 represents a tonal value or frequency equal to, or, dependent upon the system of tuning used, very close to the frequency of g# key 51.

g# key 51 is disposed between keys I4 and I5 and is rearwardly offset therefrom. Specifically it is eight-twelfths of a key-length farther back than the main key, note 3, No. I6. This is considering a key-length to be from its front edge to the front edge of the next same lettered key to the rear: for instance: 9, key I6 to Q, key

I8.! The interval betweeng key I4 and C key 57 represents tonally practically the diatonic half-step, ratio 15:16. Keys 58, 59, 60 and 6| represent tonal values pitched up from 3# key 51 with :the same relative values between each of theadjacent notes as those between the notes of the keys I6, I8, I9, 26, 2| and 22 and these keys are, also offset rearwardly progressively and are also progressively offset laterally. G# key 6| represents a tonal value or frequency equal to, or, dependent upon the system of tuning used, very close to thefrequency of i key l5.

. 1i key I5 is disposed between keys 5'! and 6! and is forwardly offset therefrom. Specifically it is three-twelfths of a key length farther back than the-main key, note Q, No. II]. This is considering a key-length to be from its front edge to the front edge of the next same lettered key to the rear: that is, for example, 9, key I6 to Q, key I8. The interval. between g# key 51 and A key I5 represents tonally a half-step about midway between that of the chromatic half-step and the diatonic half-step, the ratio being for a polytone instrument approximately 243:256. Keys 62, 63, 64, 65 and 66 represent tonal values pitched up from 11 key I5 with the same relative values between each of the adjacent notes as those between the notes of the keys numbered I9, I8, I9, 29, 2| and 22 and these keys are offset rearwardly progressively and are also progressively offset laterally. A key 66 represents a tonal value or frequency equal to, or, dependent upon the system of tuning used, very close to the frequency of k# key61.

245 key 61'is disposed between keys I5 and I6 and is rearwardly offset therefrom. Specifically it is ten-twelfths (es) of a key-length farther back than the main key, note 5;, No. I0. This is considering a key-length to be from its front edge to the front edge of the next same lettered key to the, rear: for instance: 5;, key ID to 9, key I8.

The interval between Q key I5 and at: key 61 represents tonally practically the diatonic halfstep, ratio 15:16. Keys 68, 69, 16 and II represent tonal values pitched up from :54: key 61 with the same relative values between each of the adjacent notes as those between the notes of the keys I0, I8, I9, 29, 2| and 22 and these keys are also offset rearwardly progressively and are also progressively offset laterally. Kit key N represents a tonal value or frequency equal to, or, dependent upon the system of tuning used, very close to the frequency of 1} key I6.

2 key I6 is disposed between keys 6'! and I1.

It is forwardly offset from key 61 and rearwardly offset form key I1. Specifically it is five-twelfths (l of a key-length farther back than the main key, note Q, No. I9. This is considering a keylength to be from its front edge to the front edge of the next same lettered key to the rear: for instance: Q, key I0 to Q, key I 8. The interval between 2t key 61 and l key l6 represents tonally a half-step about midway between that of the chromatic half-step and the diatonic half-step, the ratio being for a polytone instrument approximately 243z256. Keys", 13, I4 and [5 represent tonal values pitched up from is key IS with the same relative values between each of the adjacent notes as those between the notes of the keys numbered l0, l8, I9, 20, 2| and 22, and these keys are also ofiset rearwardly progressively and are also progressively offset laterally. B key 15 represents a tonal value or frequency equal to or, dependent upon the system of tuning used, very close to the frequency of Q key I1.

C key I1 is disposed forwardly from key l6 and is on a level with the octave C key ID. The interval between l 3, key I6 and 9, key ll represents tonally a half-step about midway between that of the chromatic half-step and the diatonic halfstep, the ratio being for a polytone instrument approximately 2432256. Keys 16, 11, 18, I9 and are exactly on a level with the lower octave keys l8, I9, 20, 2| and 22 and these keys are also offset rearwardly progressively and are also offset laterally. C, key 80 represents a tonal value or frequency equal to or, dependent upon the system of tuning used, very close to the frequency of ga t, the octave above Q# key 23.

The hereinbefore described keyboard arrangement sets forth one complete octave, and it will be understood that this same arrangement will be repeated for as many octaves as are covered by the instrument.

The keys III, II and I2 comprise one main group and it will be noted that keys l and I2 are offset rearwardly from key l0 and key I2 is offset rearwardly slightly from key I I.

Keys l3, l4, l5 and 16 comprise a second main group and keys l4, l5 and i6 are progressively offset rearwardly from key [3 this latter key being one-twelfth of a key-length farther front than key Ill.

The forward ends of keys 10, ll, I2, 41, 51, 61 and 16 are disposed on a line inclined rearwardly from the front of the instrument, and the forward edges of keys 23, 33, 42, 52, 62 and 12 are disposed on a line parallel with the line designating the front edges of keys I0, II, I2, 41, 51, 61 and 16. The remaining keys are disposed in similar parallel lines which are inclined to the front edge of the instrument.

It will be understood that each row of keys,

reading from the front to the rear and representing tonalvalues of the same letter or character may be differentiated in any suitable manner as by color or the like so as to make the playing of the keyboard as easy as possible and so that the positioning of the fingers on a particular bank or tier will at once convey to the player the tonal values represented by such bank or tier.

The keyboard arrangement herein disclosed correlates with the present conventional keyboard arrangement only in the arrangement of the octave keys, these being the only intervals theoretically pure in the tempered tuning. Other keys are positioned according to intervallic relationships. The lateral offsetting of the intermediate tonal keys facilitates the playing of the instrument in that the player is able 0 determine from the relative position of the keys any desired relationships; these always being found in the same relative positions.

The dimensions herein given as to key lengths and spacing thereof are only given as one example, it being understood that these dimensions may be varied to accommodate different keyboard arrangements.

- What I claim is:

l. A keyboard formed of a plurality of keys, said keys being arranged in stepped relation and the keys representing similar lettered intonations being arranged in rows from front to rear, the keys of each row being disposed progressively in rearwardly and laterally offset relation with at least one key of one row disposed in alignment with a foremost key of an adjacent row.

2. A keyboard formed of a plurality of keys,

said keys being arranged in stepped relation and the keys representing similar lettered intonations being arranged in rows from front to rear, the keys of each row being disposed progressively in rearwardly and laterally offset relation with at a least one key of one row disposed in alignment with a foremost key of an adjacent row, the keys in each octave being arranged in at least two groups having the succeeding keys of each group arranged in rearwardly offset relation to a preceding key.

3. A keyboard with staggered parallel rows of keys front to back, each key of each row designating different intonations of the same lettered tone, a rearward key of one tier being substantially of the same intonation as a forward key of another tier and being substantially in alignment with said mentioned forward key.

ARTHUR FICKENSCHER. 

